The world is full of marvels – sunrises, baby lambs being born, and an egg that has 38 million likes on Instagram.
How did this happen? When? What is it – just an egg? Why would someone do this?
These are all questions we had – but we are here to serve you, the Newsround audience, with answers and not questions.
So here is everything you need to know about the world’s most liked egg.
A picture of an egg was posted to an account called @world_record_egg on 4 January.
The caption under the picture says ‘Let’s set a world record together and get the most liked post on Instagram. Beating the current world record held by Kylie Jenner (18 million)! We got this.’
Since then the picture has had nearly 40 million likes, smashing the previous record for most-liked image.
When did the egg break the record for most-liked image on Instagram? On 13 January, just a week and a half after it was first posted – the egg reached its ultimate goal of more than 18 million likes. menangceme
Previously, the most liked picture was reality TV star Kylie Jenner’s announcement that she’d had a baby, Stormi.
This picture has more than 18 million likes since her announcement in February 2018.
But now the latest comments on the picture of her newborn daughter all seem to reference the egg.
Kylie came back with a response for the egg.
A video was posted to her account of her cracking an egg on a hot pavement.
The egg didn’t fry – but a point had been made.
Why would someone do this?
It’s hard to say at this point – the owner of the account is unknown to us and there appears to be no other aim than to get the most-liked image.
Now this has been achieved, what is the egg’s purpose? Where does its future lie?
We cannot answer these questions for you, we can only wait and see what the future holds for Egg Gang.
The attack wasn’t over when the picture of the dead men slumped over the tables in the Nairobi restaurant where they had been having lunch was published.
The decision of a number of US and European outlets – including the UK’s MailOnline and Germany’s Bild – to use the photograph was instantly condemned on Kenyan social media. The New York Times came in for the most criticism. The newspaper, angry users said, was using the “misery and tragedy” of Tuesday’s terror attack on the Dusit hotel for clickbait. ikutqq
What’s more, the speed with which the picture was published meant many were still unaware their loved ones had been caught up in the attack.
“Let me break [it] down,” Jennifer Kaberi wrote in a tweet to the newspaper. “A friend of mine is at this hour (midnight) looking for her nephew who works in that building.
“Imagine she sees those photos.”
In pictures: Assault on hotel complex
Briton feared dead in Kenyan hotel attack
It is not the first time pictures of bodies from an atrocity have been published. But the Kenyan photograph’s publication raises questions over what should, and should not, be published – and whether outlets play by different rules when it comes to African victims.
Media captionNairobi Dusit hotel attack: explosions, gunfire and rescue operation
Many outlets – including the BBC – have strict rules on what pictures they can and cannot publish.
“Images portraying dead or dying humans” can only be used “with special care and with editorial justification”, BBC guidelines say. In practice, it means photos of the dead and dying are used extremely rarely.
The Media Council of Kenya, meanwhile, advises “publication of photographs showing mutilated bodies, bloody incidents and abhorrent scenes shall be avoided” unless in the public interest.
And sometimes, newspapers argue, a graphic image is needed to expose the realities of war, or terror, or – in the case of a little boy lying dead on a beach – highlight the plight of a people trying desperately to reach safety.
The problem with mass shootings and the media
The picture of five-year-old Alan Kurdi still stands out in many people’s minds as the moment they truly understood the enormity of the migrant crisis. The UK’s Independent newspaper went as far as to publish the image in full on its front page.
“It was not an easy decision,” the paper’s deputy managing editor, Will Gore, told the BBC at the time. “But our view was that this image was clearly something of a different order to images we’d seen before, and came at a time when the debate about what to do seemed to be getting nowhere.”
The photo, Gore argued, was the best image if they “were going to show the real horror of what happened to him”.
Many pictures showed people running for their lives
Joseph Kariuki, former digital editor of Kenyan newspaper The Star, has also made the decision to publish distressing images in the past – even when he knew there was likely to be a public backlash.
On one occasion, it meant showing a picture of a mother who had been killed with her baby strapped to her back during ethnic clashes in the east of the country.
“That week over a hundred people had been killed and then that picture of the mother and her baby surfaced,” he recalled.
“We had to show the public what was happening.”
It had results, he said, in so far as “for the first time, the president spoke about the clashes and ordered more boots on the ground”.
But publishing the images from the attack in Nairobi, he argued, had no such public interest defence, showing the impact or frequency of the attacks.
“In my view, they were not justified to use those pictures considering the last time we had a terror attack was more than two years ago and the impact is much less compared to Garissa University attack [where 148 people died] or Westgate [Mall attack, where 67 died].”
But The New York Times has said it does have a justification in printing the pictures.
Image Copyright @nytimes@NYTIMES
“We want to be respectful to victims and to others affected by the attack,” the newspaper wrote in a statement. “But we also believe it is important to give our readers a clear picture of the horror of an attack like this. This includes showing pictures that are not sensationalised but that give a real sense of the situation.”
The approach, the statement concluded, was used “wherever in the world something like this happens”.
But, Kenyans argued, most of the time, that isn’t the case when it comes to US victims. On the other hand, photographs of African victims are more commonplace.
“African victims of atrocities such as yesterday often get their death displayed for consumption with little to no regard for their privacy or the grief of their family members,” James Siguru Wahutu, a fellow at BKC Harvard who studies media and mass atrocities, said.
“What makes the images even more egregious is the fact that the event was still unfolding and people were looking for their loved ones. This would never happen during a mass shooting or terror event in the US.
“So while NYT hides behind its editorial standards when challenged by Kenyans, it is also true that they have been reticent in displaying dead Americans in their coverage of atrocity.
“So why not extend the same courtesy to Africans?”
The BBC has approached the New York Times for comment.
Established in 1919, in the wake of World War One, Germany’s Bauhaus art school brought a radical new approach to design and aesthetics which would eventually go on to help inform modernist architecture around the world. Now in its centenary year, we look at a selection of some of the buildings shaped by the influential art school. agen bandarq
The Bauhaus was founded in Weimar by Prussian architect Walter Gropius (1883-1969). While Bauhaus translates as “building house”, Gropius didn’t want to build only houses; instead, he wanted to create artists who could turn their hands to anything. Students were taught pottery, printmaking, bookbinding, carpentry, typography and advertising. They were encouraged to look at the world around them in a new way, studying in hands-on workshops that were the opposite of the stuffy and elitist lectures of many contemporary design schools.
In 1925, the Bauhaus relocated to the city of Dessau, where Gropius designed a new base for the school. With a steel frame structure and large walls of glass, the building featured many characteristics of modernist architecture.
Gropius left the Bauhaus in 1928 and was replaced as director by Hannes Meyer.
With German politics polarising, Meyer soon stood down and was replaced by architect Ludwig Mies van der Rohe (1886-1969), who began placing greater emphasis on architectural design.
As support for the Nazis grew, the school began to be seen as being at odds with National Socialism and students and teachers fled to a new base in Berlin. When Adolf Hitler became chancellor in 1933, the school was closed down.
Driven into exile, many key figures of the Bauhaus emigrated to countries such as the US and Israel, where their philosophies inspired generations of architects and designers.
One hundred years later, the austere, modernist influence of Gropius and his cohort can continue to be seen in buildings around the world.
The two jobs may not have much in common, but driving a taxi was the perfect training to become a playwright, according to Ishy Din.
“The beauty of cabbing is that you don’t know who the next person to get in your car is going to be,” he says.
“One minute you could be talking to a judge, and then the next person is a housewife, and the next person is a drug addict, and the next person is a nurse…” 77bandar
“I was conscious that I was getting the opportunity to speak to a whole spectrum of society.”
Din got a glimpse into the lives of a huge array of characters and kept a notebook in his cab to jot down lines that customers told him. He also kept a laptop under his seat to write his debut play between drop-offs and pick-ups.
That play was Snookered, about four young British Muslim friends who reunite in a snooker hall, which won acclaim and awards when it was staged in 2012.
Image copyrightMARK DOUET
Ishy Din: “We see huge amounts of anger and resentment in communities that feel that they have been left by the wayside”
Now, he’s gone back to his taxi days for inspiration for Approaching Empty, a power struggle between two older friends, Raf and Mansha, set in a minicab office in Din’s home town of Middlesbrough.
“The universality of the story is that it’s about friendship, it’s about families, it’s about community, it’s about betrayal,” the writer says.
“I’ve set it in this small cab firm because that was a world that I knew, and I liked the idea of the claustrophobia of these little cab offices.
“It happens to be Raf and Mansha, but it could quite easily be Harry and Jack in a backstreet garage, or June and Margaret in a greasy spoon. It’s very much about working class communities and the themes could be applied to many different communities and peoples.”
Raf and Mansha moved from Pakistan in their youths and worked in British factories – until the factories shut.
Image copyrightHELEN MURRAY
Approaching Empty examines the different paths of two friends since the 1980s
The action in the play takes place between the death and the funeral of Margaret Thatcher in 2013, and the former prime minister’s impact on British industry in the 1980s is one of the themes.
Raf is the ruthless boss who admires the fact “she knew there was no choice but to change”. Mansha, on the other hand, was “happy with the way things were”.
Din says: “Margaret Thatcher was a seminal figure for a generation of Asian communities because our raison d’etre was the factories. That’s why we came. And she closed them down.
“People sort of fell into two categories – the entrepreneurs who used their redundancies to open businesses, and some became incredibly successful and have to thank Thatcher for a lot of their success because she created that opportunity.
“But some were quite steady Eddies, who thought, ‘I’ll pay my mortgage off and then I’ll work as a cab driver or I’ll work in a takeaway, but I know I’m secure with my future.’
“That really interested me, so I thought, let’s make these two friends. Let’s have one of each.”
Image copyrightHELEN MURRAY
The play is being staged in London and Newcastle before a UK tour
The writer himself left school in 1985 at a time when the path into industrial apprenticeships was drying up along with the industries. On Teesside, it was mainly steel, which once employed around 33,000 people. But the last blast furnace shut in 2015.
That history is bubbling in the background of the play as Raf and Mansha reminisce about the past and plan for the future.
“Communities were destroyed and people have been left rootless, hankering after something that’s disappeared – a security, a certainty in the future,” Din says.
“It [the economic situation] dictates that if you pull yourself up by your bootstraps, this will be fantastic for you. But not everybody can, and not everybody has the tools or the opportunities to do that, and not everybody has the security of a job and a pension, and those sorts of things have gone.
“Being from that world, it hasn’t really worked out as the theory suggested that it would. We see huge divides and we see huge amounts of anger and resentment in communities that feel that they have been left by the wayside, and that gap between the haves and have nots has grown so wide now.
“The ones that have won, won big, but the ones who have lost out are really angry and feel let down.”
Image copyrightHELEN MURRAY
“We really need to make theatre more accessible for working class people,” Ishy Din says
The title Approaching Empty is taken from taxi jargon, but also refers to the decline of the former industrial towns as well as Raf and Mansha’s careers.
The play has just opened at the Kiln theatre in Kilburn, north-west London, in a co-production with theatre company Tamasha and Live Theatre in Newcastle, where it will run in February before a UK tour.
The theatre world is trying hard to attract more diverse audiences by telling stories about, and aimed at, a wider range of characters and communities. That’s not just about ethnicity, though, Din says.
“We really need to make theatre more accessible for what we traditionally felt were working class people, because it’s theirs as much as anybody else’s,” he explains.
“It was a people’s medium, wasn’t it? And it’s somehow been co-opted into this quite exclusive group and [other] people think, ‘Theatre? That’s not really for us’. But actually it is.”
People who make theatre should get out and perform among those communities, and venues need to become more welcoming, he believes.
“It’s a case of demystifying them, opening them up, making them community hubs, so people can come in and think, ‘Yeah, this is a part of my community’. Libraries have been closed down… just somewhere for people to have a cup of tea, read a book, whatever it is.
“We can start chipping away at this idea that ‘There’s this mysterious building in our town – God knows what happens in it’.
Family Guy is known for its politically incorrect humour, but now the team behind the show are making some changes.
Fans of the animated comedy series are used to its often distasteful humour. One character, Joe, is in a wheelchair, and the subject of many of the show’s disabled jokes.
Another, Quagmire, is used as a platform for the many references to rape or sexual harassment. agen poker terpercaya
And during the show’s 17-season run, Stewie, the Griffin family baby, has been hit with quips about being gay.
But it appears that the jokes targeted at the LGBT community are on the way out.
In Sunday’s episode, Peter Griffin, who is voiced by the show’s creator Seth MacFarlane, was seen telling a cartoon President Trump that the show was trying to “phase out” gay jokes.
“Many children have learned their favourite Jewish, black, and gay jokes by watching your show over the years,” the animated president tells Peter.
“In fairness, we’ve been trying to phase out the gay stuff,” Peter replies. “But you know what? We’re a cartoon. You’re the president.”
The change in direction has been confirmed by the show’s executive producers Alec Sulkin and Rich Appel, who told TV Line that they want to better reflect the current climate in the show.
Image copyrightGETTY IMAGES
Seth MacFarlane with Rich Appel and Alec Sulkin at a Fox press event in 2018
Sulkin said: “If you look at a show from 2005 or 2006 and put it side by side with a show from 2018 or 2019, they’re going to have a few differences.
“Some of the things we felt comfortable saying and joking about back then, we now understand is not acceptable.”
Appel added: “The climate is different, the culture is different and our views are different. They’ve been shaped by the reality around us, so I think the show has to shift and evolve in a lot of different ways.”
One of the defences of the show’s controversial storylines is that they make fun of all minority groups equally and some have argued that there’s no reason one particular minority group should be exempt.
“If Family Guy is gonna be mainstream and not edgy, what’s the point?” asked one fan of the show on Twitter. “Early 2000s Family Guy was funny because it pushed boundaries.”
And some in the LGBT community argued the show does not offend them.
“I’m gay, my boyfriend and I watch Family Guy, and we laugh at the gay jokes as much as we laugh at any of the jokes,” wrote viewer Zell on Twitter.
“I never felt like the gay jokes were at Stewie’s expense, but rather an evolution of the character,” added Rhagana. “It seemed like the more queer he became, the less evil he was.”
However, some people think Family Guy is in need of change, including Nick Duffy, the current affairs editor of Pink News, who says it is important to reflect a more modern view of homosexuality in the show.
“Family Guy has been very much reliant on stereotypes of predatory gay men,” he tells BBC News.
“And it’s not just gay people specifically, but before Caitlyn Jenner came out as transgender, they made heavy quips about her gender identity, which they’ve been criticised for before.
“At the time she was in the closet and since then she’s come out. They’ve not apologised although they do seem to have moved past it.”
Duffy says the reason comedy shows often miss the mark is because they portray “a straight white man’s experience of comedy – just look at Saturday Night Live!”
But, he adds: “We are seeing more diverse narratives of LGBT experience in comedy and new storylines coming through, like Hannah Gadsby’s show Nanette on Netflix.
“It says something about the world those shows inhabit and it’s now changing, so it looks like shows like Family Guy are becoming more inclusive, but I hope that’s also happening behind the scenes too.”
Daily Mail Australia writer Jacques Peterson, who writes about pop culture and entertainment, says that Family Guy misses the mark when it comes to comedic value altogether.
“I’m gay and I don’t have any problem with Family Guy or anyone else telling gay jokes as long as they’re funny. But Family Guy just isn’t funny,” he tells BBC News.
“It’s just a bunch of pop culture references and random ‘stuff’ thrown together… the show doesn’t even push the envelope far enough to warrant a few laughs from shock value.”
He disagrees with the idea that adding diverse writers to the mix would improve Family Guy’s gay jokes and says a good joke is a good joke regardless of who wrote it.
“Personally I think it’s rubbish to say that gay jokes have to be written by gay people. Does that mean gay people can’t write jokes about straight people?” he asks.
“If we could only write about people who are exactly like us the world would be a very boring place. I’m a writer and I’m going to write about anything and anybody I want, and I hope other writers do the same.”
If you haven’t heard of Marie Kondo yet, it won’t be long before you do.
Thanks to her new Netflix programme, the Japanese tidying guru has become January’s “It girl”. Chance is, you already know someone who is using her “KonMari” method, which promises not only a de-cluttered house, but also a clean mind.
“When you put your house in order, you put your affairs, and your past in order, too,” Kondo explains in her 2014 book, The Life-Changing Magic of Tidying. “As a result, you can see quite clearly what you need and what you don’t, and what you should and shouldn’t do.”
But is it really as simple as asking whether everything you own truly “sparks joy” and then throwing away anything that doesn’t? bandar ceme
‘Relationships not relics’
Jerrie Sharp and her partner were inspired to get rid of about a third of the belongings in their London home after watching Tidying Up with Marie Kondo.
The impact it has made on their mental health, she says, is visible.
“My partner is bi-polar, and he saw a massive difference having his office clear,” the radiographer said. “He had so much stuff in there before.
“And I have become more productive purely from having no distractions. All the books on my shelves are ones I love – I am no longer looking and thinking, ‘I’ve not read that’.”
Abigail Evans, who has only recently started following the KonMari method, agreed the positive effects were instantaneous.
“I cannot rest until I know my room’s tidy,” the 26-year-old admitted. That meant that following Kondo’s advice and doing a little bit at a time really worked.
“I’ve always been the kind of person who likes a de-clutter, and she makes it seem really easy.”
For Joseph Ferrari, a professor of psychology at Chicago’s DePaul University, this kind of response makes sense. In fact, he would argue you should maybe go further than Marie Kondo recommends when clearing out your home.
Marie Kondo giving advice on her television show
Prof Ferrari’s joint 2016 study, The Dark Side of the Home, found the more clutter people have, the lower their life satisfaction – and the lower the productivity.
“Clutter is not a good thing,” he explained.
“We are living in this society where our wants become needs,” he added. “What we need to do is let go of things. I tell people, do not collect relics, collect relationships.”
It is not just Marie Kondo and Prof Ferrari advocating the virtues of de-cluttering. There are plenty of other experts out there extolling the benefits, whether it be the home, the office – or even your email inbox.
Marie Kondo v book hoarders
Where are you on the ‘clutter scale’?
Hoarder: ‘My house was a hovel’
Take “Inbox Zero”, an email management system which should, in theory, mean you end each evening with no emails in your main inbox, having rigorously sorted, deleted and forwarded every message which arrived during the day.
It might seem like an unachievable dream for those of us with thousands of unread emails, but people who achieve this inbox nirvana swear by it – not least, for the positive effect on their mental health.
“Most of my stress is because I might have forgotten things or am not on top of things, so this helps me relax,” explains one of my colleagues.
But the current craze for a de-cluttered life does not end when you have finally thrown away the last spark-free item.
Social media accounts that advocate the joy of cleaning are also sweeping the internet.
There is no underestimating the interest in such accounts: just look at Sophie Hinchliffe – better known as Mrs Hinch – and her impressive 1.6 million followers on Instagram, not to mention the book deal with Penguin, all thanks to her cleaning advice.
Skip Instagram post by mrshinchhome
End of Instagram post by mrshinchhome
Her house, in fairness, is utterly spotless.
But while many people are inspired by her pristine home and fastidious approach to cleaning, it has left others feeling a little wanting.
“Her immaculate house just made me feel depressed about my own home so I unfollowed her,” admitted one mother on the website Mumsnet.
Marie Kondo’s de-cluttered homes have not been immune to criticism either – not least for adding another layer of stress to already stressful lives.
“The media that surrounds us – both social and mainstream, from Marie Kondo’s new Netflix show to the lifestyle influencer economy – tells us that our personal spaces should be optimised just as much as one’s self and career,” argued Anne Helen Petersen in her Buzzfeed piece on How Millenials Became the Burnout Generation.
“The end result isn’t just fatigue, but enveloping burnout that follows us to home and back.”
But could it be worse than that? After all, too much of anything can be a bad thing.
“Do we just assume that de-cluttering is a good thing because it’s the opposite of hoarding?” New York psychologist Vivien Diller wondered in The Atlantic back in 2015, pointing to patients who felt a compulsive need to de-clutter.
“You take somebody who cannot tolerate mess or cannot sit still without cleaning or throwing things out, and we’re talking about a symptom,” she noted.
So where, exactly, does all this leave those of us who really aren’t that bothered by a little bit of mess, and are never likely to consider whether their socks truly give them joy?
Luckily, you have your own guru (sort of). Meet Tim Harford, columnist, radio presenter and author of Messy: How To be Creative and Resilient in a Tidy-Minded World.
Image copyrightLIBRARY OF CONGRESS
US founding father Benjamin Franklin – proof successful people can have messy desks
But first, an admission.
“I actually did Marie Kondo on my clothes, and it works,” he said.
However, Mr Harford argues, a messy desk really isn’t the end of the world – and the idea everything can automatically be sorted into its proper place within moments of its arrival is not always true.
“When you are being creative – when you are doing stuff – things get messy,” he told the BBC. “Trying to tidy things up too early or too often – it is going to lead you to beat yourself up unnecessarily.”
And for those of us feeling down about our inability to eliminate clutter, live in immaculate homes or get our inboxes down to zero, there is always the example of the author, investor and founding father of the US, Benjamin Franklin.
“He had this virtue journal where he kept track of all the ways he was going to be a better person,” Mr Harford explained.
“Looking back at the end of his life, that virtue journal had really worked.
“But, he said, there is just one thing I could never do – and that was be tidy.”
Netflix’s Mexican film epic Roma and historical comedy-drama The Favourite were the big winners at the London Critics’ Circle Film Awards on Sunday.
Roma was named best picture, while The Favourite picked up British/Irish film of the year and its stars Olivia Colman and Rachel Weisz won acting awards.
They will all hope to be among the Oscar nominations on Tuesday.
But the Oscars race is still wide open, especially after Green Book won at the Producers’ Guild of America Awards. poker online terpercaya
Green Book explores racial tensions through the story of a black pianist and his white chauffeur driving through the Deep South of the US in the 1960s.
Image copyrightGETTY IMAGES
Green Book director and producer Peter Farrelly (second left) accepted the Producers’ Guild of America Award
The winner of the PGA’s top prize has gone on to win the Academy Award for best picture in 20 of the past 29 years, according to Variety.
It is now among the frontrunners for the Oscars alongside Lady Gaga and Bradley Cooper’s A Star Is Born and Roma.
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As well as winning best picture at the London Critics’ Circle Awards for Roma, Alfonso Cuaron was named best director.
Ant McPartlin has spoken publically for the first time about being diagnosed with attention deficit hyperactivity disorder (ADHD).
The TV presenter said the diagnosis “made sense” as “there are a lot of links to alcohol dependency”.
He also spoke to The Sun about his relationship with Declan Donnelly, who he has just returned to work with.
McPartlin was convicted of drink-driving in April and cancelled TV presenting jobs for the rest of 2018.
He said that during his recovery and ADHD diagnosis: “I was so thoroughly examined and diagnosed, I found stuff out about me I hadn’t addressed for years.
“There’s a lot of characteristics that held me in good stead working in live television. Richard [Bacon] said the same. bandar ceme online
“In my job, having what they call ‘popcorn thinking’ is good because it means you can jump from one thing to another. Professionally, it’s brilliant. Personally, I’m all over the place.”
Bacon, a former presenter on BBC Radio 5 Live, was diagnosed with ADHD at the age of 42 and acknowledged Ant’s comments about him on Twitter.
ADHD organisations and people with the condition also tweeted their support for Ant.
Image Copyright @ADHDFoundation@ADHDFOUNDATION
Image Copyright @ADHDcampaign@ADHDCAMPAIGN
Image Copyright @lucykhobbs@LUCYKHOBBS
In The Sun’s interview, Ant, 43, addressed the strain the last year has put on his relationship with Dec, who was forced to present some Britain’s Got Talent and Saturday Night Takeaway episodes alone last year after Ant stepped back.
Media captionAnt and Dec were filmed entering a rear entrance of the London Palladium
Ant said: “I saw Dec the day after the crash and we didn’t even speak about work.
“It wasn’t about that. It was about, ‘How are you?’ I said: ‘I’m not right.’ You know, mentally I wasn’t in a good place.”
Image copyrightGETTY IMAGES
The pair returned to work on Friday at the Britain’s Got Talent auditions
Ant returned to work for the first time on Friday to take part in the recording of Britain’s Got Talent auditions, saying he now feels ready to work again.
He said: “I am absolutely gagging to get going. I’m a bit anxious, a bit nervous, but ultimately a feeling of excitement and happiness.
“It’s been a long time. I want to be back doing what we do. I’m lucky that I love my job. I just want to get back to that.”
Predicting the result of the Oscars can be a tricky business. Especially as the Academy’s membership, which votes for the awards, is changing year by year.
Efforts to make it less old and less white have resulted in a significant influx of younger voters, people from ethnic minorities and a wider spread of international members.
With multiple nominations in each category, perhaps the most visible effect of the changing nature of the Academy will be seen in who wins, rather than who is nominated. But Tuesday may still potentially tell us a lot, and might also provide a distraction from the fact that with the ceremony just weeks away, the Academy has yet to announce a new host. judi ceme
Here are seven things to look out for:
The Hollywood remake of a remake of a remake, A Star Is Born looks likely to grab the most nominations, with The Favourite, Roma and maybe First Man not far behind. However, the film with the most nominations isn’t automatically the favourite to win best film. In recent years, Gravity, The Revenant and La La Land have topped the list but then gone on to lose best picture.
Black Panther would be a popular choice for cinemagoers
If the Marvel film gets a best picture nomination, it will make history as the first comic book superhero movie to be recognised in this way. It will also delight the people behind the Oscars who are keen to make the ceremony more relevant to audiences – Black Panther was the biggest film of 2018 at the US box office.
If, as seems inevitable, Roma gets a best picture nomination, it will be the first Netflix film to be up for best film. With much of Hollywood split over whether the streaming service represents a huge threat or a huge boost to the future of cinema, in awards terms this reflects the ability of the streaming service and its huge financial coffers to attract some of the cinema’s best film makers.
The director of Roma is widely expected to get a best director nomination. But he also looks likely to be recognised for producing, writing, editing and cinematography. If you throw in an inevitable best foreign language film nomination (strictly the country is the official nominee, but the director picks up the award and their name goes on the statuette), then he’ll be widely regarded as becoming only the second person ever to get nominated in six different categories in one year. (The first was Walt Disney.)
Image copyrightFOX AND WARNER BROS
Olivia Colman and Lady Gaga could go head-to-head for best actress
It would be a big surprise if there weren’t British performers in all four acting categories. Christian Bale and Olivia Colman are considered dead certs in the leading categories, as is Richard E Grant for supporting actor. While either Rachel Weisz or Claire Foy, or perhaps both, should land supporting actress nominations.
Brits behind the camera
As is customary, a wide array of UK talent should be evident behind the camera, ranging from Jim Beach and Graham King who produced Bohemian Rhapsody to Deborah Davis and Sandy Powell, for screenwriting and costume design (The Favourite). First Man’s production designer Nathan Crowley and music super-producer Mark Ronson, who co-wrote Shallow for A Star Is Born, could also make the cut.
What about the Corbould brothers?
Ah yes, the Corboulds! If Paul Corbould is nominated for his visual effects work on Jurassic World: Fallen Kingdom, it will mean that for seven years in a row a Corbould sibling has landed an Oscar nomination, underlining their status as one of the Oscars’ most ubiquitous families. His brothers Chris and Neil have gone on to win Oscars in the past. Paul has been nominated twice but never won.